1

EVOLUTIONS OF ELEMENTARY ART CURRICULUM: INCORPORATING

ENVIRONMENTAL SUSTAINABILITY

By

NICOLE MCCAULEY

A CAPSTONE PROJECT PRESENTED TO THE COLLEGE OF THE ARTS OF THE

UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT
OF THE REQUIREMENTS FOR THE DEGREE OF
MASTER OF ARTS
UNIVERSITY OF FLORIDA
Spring 2016 (Independent Study/Capstone Fall 2015)

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Summary of Capstone Project
Presented to the College of the Arts of the University of Florida
In Partial Fulfillment of the Requirements for the
Degree of Master of Arts

EVOLUTIONS OF ELEMENTARY ART CURRICULUM

By

Nicole McCauley

Spring 2016 (Independent Study/Capstone Fall 2015)

Chair: Craig Roland

Member(s): Elizabeth Manley Delacruz
Major: Art Education

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Abstract

This proposal includes plans to research ways to incorporate the global theme of environmental
sustainability into an existing elementary art curriculum. It is my intention to provide opportunities for
students to engage in artmaking activities and processes centered on environmental sustainability and to
explore the work of contemporary artists and activists who reflect similar aims. This proposal includes
an introduction to the study and a literature review of scholars, theorists, artists, and art educators who
promote the exploration of global themes in art and share a concern for the deteriorating state of the
natural world. The methodology of my research will occur in two phases, curriculum research and field
study. After conducting research in globally-minded art curriculums, environmental sustainability, and
contemporary art, I will use an IRB02 form and a permission letter to obtain parent consent and student
assent to include student artwork and reflections in my study. I will use information gathered from
participating students in my elementary art program to guide the direction of the proposed activities and
future curriculum development. Finally, I will present my research to my UF Capstone committee and
will display my findings on my professional website.

Table of Contents
Title Page .........................................................................................................................................1
UF Summary Page ...........................................................................................................................2
Abstract ............................................................................................................................................3
Table of Contents Page ....................................................................................................................4
Introduction ......................................................................................................................................6
Statement of the Problem .....................................................................................................7
Purpose of the Study ............................................................................................................7
Research Questions ..............................................................................................................9
Assumptions of the Study ..................................................................................................10
Definition of Terms............................................................................................................10
Study Limitations ...............................................................................................................11
Literature Review...........................................................................................................................12
Methodology ..................................................................................................................................18
Subject Selection, Site, and Description ............................................................................18
Research Methodology ......................................................................................................18
Data Collection Procedures................................................................................................19
Data Analysis .....................................................................................................................20
Limitations .........................................................................................................................21
Summary/Reflections ....................................................................................................................22
Appendices .....................................................................................................................................23
Appendix A ........................................................................................................................23
Appendix B ........................................................................................................................26

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References ......................................................................................................................................27
Author Biography ..........................................................................................................................30
Timeline .........................................................................................................................................31

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Introduction
Imagine for a moment a utopia. Where water falls from the sky and where food grows
from the earth. Where flowers bloom with unfailing instinct and where the air is cleansed by the
giants that we call trees. Now realize that you are there. We live on an amazing planet and are
an integral part of nature and its processes. The shared environment we have created alongside
nature requires a balance; a balance that is in danger of tipping over. As we create, invent, and
expand, we often tap into, and sometime exhaust, finite natural resources. What happens, for
instance, if a community does not have access to fresh water? What happens to a place when a
person cannot breathe the air? These are troubling questions that certain individuals are already
struggling to answer, and if we do not start creatively thinking of ways to reverse or lessen the
damage we have done to environment, we will be forced into an old state of evolution, we will
be fighting for basic survival.
It could be argued that certain phases of our evolution have often been accompanied by
the act of creating. For instance, the invention of the wheel and the telephone changed our
everyday existence, from the ways we travel, communicate, and contemplate meaning. In other
words, creation is the brother of evolution. One place where we are encouraged to create is in
the art classroom. As an art educator, I feel it has become increasingly important to address
global themes and to present artmaking as an avenue for social, political, and environmental
change. Proponents of a contemporary art curriculum support that the art classroom is an ideal
space for exploring and understanding the individual and collective impact one can have on the
world (Campana, 2011; Freedman, 2011; and Gude, 2009).

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Statement of the Problem
Our relationship with nature and our shared environment is based on the simple notions
of give and take. So, how much have you given to nature lately? I have a feeling that most folks
wouldnt even know how to begin answering that question. The truth is, we need nature more
than it needs us, if it even needs us at all. We are the spoiled children of an unconditionally
loving mother and it is time to grow up, time to face the consequences, time to start helping.
According to Lankford (1997), the restoration and preservation of our planet is everyones job,
everywhere, all the time (p. 53). I agree that we are all responsible for repairing our
relationship with nature and that every single person is capable of making a positive difference.
Being both an art educator and lover of nature puts me in a unique position to expand the
scope of my personal impact through the topics and processes that I teach. The materials that are
discarded, misused, or improperly disposed of on a daily basis in my own elementary art
classroom has caused me to reflect on my abilities as an educator and steward of the
environment. As a result of my reflections, I have decided that it is time to take action, to plant
the seed of sustainability, and to nurture its growth. The study I am proposing is the first step to
becoming a progressive educator and a proponent of meaningful participation in life.
Purpose of the Study
Within the goals of this study, it is my intention to incorporate the global topic of
environmental sustainability into an existing elementary art curriculum. This will be
accomplished by developing eco-friendly processes with the students that can be used throughout
the school year (i.e., recycling protocols, alternatives to paper, material restrictions) and by
exploring the work of contemporary artists and activists that are working toward environmental
sustainability. I want my students to understand that the individual impact they have on the

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world can be either positive or negative, that what they do makes a difference. I also want my
students to form healthy habits of mind, to create art for life, and to give more than they take.
Perhaps being able to reach even one or two students and inspire them to be stewards of the earth
will make a positive change for future generations.
Research Questions
I have one main research question and two sub-questions to guide my investigations into
the proposed topic.
1. How can the global concept of environmental sustainability be incorporated into an
elementary art curriculum?
a. How can an elementary art classroom incorporate eco-friendly processes and
procedures for projects?
b. Which contemporary artists and art collectives promote environmental
sustainability through their artworks and actions?
Rationale and Significance of the Study
As discussed previously in this proposal, our relationship with nature and our shared
environment is in desperate need of repair. Addressing global topics in educational settings has
become an important concept and is supported by many contemporary theorists and educators
(Blandy, Congdon, & Krug, 1998; Gude, 2009; Gude, 2013; and Lankford, 1997). I feel that
global concerns surrounding the current state of the environment are the most crucial to research
and understand because we depend on nature and the shared environment we have created with
it. In fact, we depend on it for our very lives.

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Lankford (1997) agrees that our very existence depends on our access to air, water, and
soilYet sometimes, especially in urban areas, we forget about the importance of these
relationships, or we take them for granted (p. 49). The environment needs our help and the art
room has been identified as a great place to develop social and behavioral habits of mind geared
towards positive individual and collective interactions (Blandy et al, 1998; Eisner, 1984; Gude,
2013; and Lanier, 1986). Our students deserve the opportunity to explore their artistic abilities
and to also discover how they can use their ideas, inspirations, knowledge, and experiences to
shape the physical world around them, for better or for worse.
We need creative thinkers, so as educators, we need to act creatively. We need to find
ways to use the arts as a means of communication, as a way to globally connect to others, and as
a way to collaborate on the things that really matter. I believe that promoting the protection of
the natural environment in the art room will allow students to apply their creativity beyond the
walls of the school. Students will hopefully become more aware of the scope and impact of their
individual thoughts and actions, prompting them to make better choices to help the environment
and protect the lives we have grown to love.

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Assumptions
I am approaching this study based on the assumption that all people depend on nature in one way
or another and that we collectively have a responsibility to protect it. Although we need nature
to survive, I am not so sure we deserve it after all of the destruction that has resulted from our
consumer-based way of life. We need to repair it and we need creative solutions now. As an
educator, I believe in the power of knowledge, and as an artist, I believe in the power of action.
Therefore, as an art educator, I am armed with the notions and hopes that I will be able to share
knowledge about the state of the environment and will awaken a desire in my students to take
action, to create with intention, and to spread the word. I believe we are all capable of making a
positive difference, of leaving a light carbon footprint, and of preserving the quality of life for
future generations, so why not start by educating our youth about the possibilities?
Definition of Terms
Backward design. A three step process for curriculum planning based on the
foundational principles of the Understanding by Design (UbD) curriculum framework (Wiggins
& McTighe, 2005). In order for backward design to work, educators must identify desired
results and then analyze a variety of data before planning instructional activities.
Ecological stewardship. A balanced relationship between the preservation or restoration
of environmental resources and the use of those resources for industrial activities, such as
logging, farming, and building developments (Lankford, 1997).
Eco-friendly. Not harmful to the natural environment (Merriam Webster.com, 2015).
Environmental sustainability. In regards to the natural world and its resources, it is the
ability of a population to meet their basic needs without compromising the ability of future
generations to do the same (Blandy, 2011).

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Global education. A curriculum approach which involves granting students
opportunities to formulate understandings about different societies all over the world. In this
study, a global approach will be used to identify similar concerns between all people, specifically
the deteriorating state of the natural world and our dependency on its resources (Davenport,
2000).
Limitations of the Study
Due to the time frame allotted for this study, there are a few things I will not be able to
accomplish, but feel are worthy of future study, discussion, and action. It is my intention to
further the scope of my research by implementing this material with all students, kindergarten
through fourth grade, but it will take additional time to approach it in a similar manner as the
proposed study. I am in the process of transforming the art room into a place where students
fully understand the importance of conservation and how they can take easy steps to aid in the
preservation of nature. This is something that will take years to fully develop and I consider this
study to be a large step towards that deeper understanding in my students.
This study could eventually lead to involvement in community partnerships, a student-led
community art event which promotes environmental sustainability, or a student-led garden
initiative. Students could also create video tutorials about eco-friendly processes in the art room
to be shared other members of the global community and can create larger-scale artworks using
natural or recycled materials. The results of this research will help me to push the elementary art
program I have developed into the realm of a progressive movement, one that celebrates creative
minds and the power of the individual in a collective community.

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Literature Review
As an elementary art educator, I feel a personal responsibility to evolve with
contemporary notions and theories surrounding the visual world and the relationships we create.
This literature review is intended to serve as a foundational tool for drawing connections
between student artmaking, the global concern of environmental sustainability, and responses in
the field of contemporary art. Despite the ample amount of knowledge on the subject of art
education, there is still great need for a plan to include contemporary aims in an average
elementary school curriculum with restrictions on supplies, budgets, and time.
As inhabitants of this planet, we are undoubtedly an integral part of nature and its
processes. We have an instinct, to thrive, to live, and to shape the world around us. It is our
privilege to exist, to make sense of our relationships, and to formulate the perceptions of a global
community. People from different backgrounds, belief systems, and places share the need to
maintain a relationship with nature. We depend on nature for our everyday interactions,
regardless of where we live. Proponents of contemporary education cite a need to address realworld issues in the art classroom, including environmental sustainability (Blandy, Condon, &
Krug, 1998); contemporary art (Gude 2007), and meaningful participation in life (Gude, 2009;
Freedman, 2011).
This literature review will briefly investigate the field of art education to show that it is
an evolving structure and therefore requires an evolving curriculum. I will investigate
environmental approaches to art curriculum, will draw connections to the work of contemporary
artists, and will explore further possibilities for creating an eco-friendly art classroom. I will use
this review to guide my research into the global topic of environmental sustainability and how it
can be incorporated into an elementary art curriculum. It is my hope that through the

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implementation of this research, I will be able to lessen the negative impact that my art
classroom has on the natural world and will hopefully inspire others to do the same.
Evolving curriculum
The arts have long been a core part of the education system, and the development of arts
curriculum has endured a life-changing journey. Educational pioneers, such as Friedrich
Froebel, Maria Montessori, and Natalie Robinson Cole have had an overlapping effect on the
characteristics present in a modern-day classroom, paving the way towards a system built to
recognize individual creativity and ability (Stankiewicz, 2001). Educational theorists, art
educators, and artists have affirmed the importance of a comprehensive approach to teaching,
taking into consideration the importance of building a relationship with the environment (Blandy
et al, 1998; Lankford, 1997; Neperud, 1997; Strauch-Nelson, 2012), facilitating student-led
activities (Stankiewicz, 2001), and encouraging healthy social collaborations (Campana, 2001;
London, 1994).
Progressive educators like Gude (2009) have recognized and acted upon a strong pull
towards a meaningful approach to teaching, promoting creative thinking, personal identity,
cultural understandings, and the basic belief that what we do matters. Delacruz (2009) notes that
art education can make a difference in an increasingly complex, interconnected world, and that
art classrooms are places where young people may make meaningful connections to the culture,
stories, and experiences of others (p. 15). In a comprehensive art curriculum, I believe a teacher
must include an exploration into global topics to allow students to become fully aware
individuals in a growing collective. As Blandy asserts (2011), art education provides an avenue
for exploring, defining, and participating in culture, in turn, making culture an integral part of
life and worthy of sustainment.

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Keeping nature in mind
Supporters of a contemporary approach in the classroom reflect previous educational
theories rooted in the importance of nature study and the interconnectedness of all things.
Strauch-Nelson (2012) recalls the idea of an innate connection between children and nature and
asserts that expanding the exploration of nature in the context of art education is an essential
way to refocus on the learner and the learners intrinsic interests (p. 69). All people depend on
nature in one way or another, so regardless of ones attitude towards it, the relationship is
necessary, worthy of development, and in desperate need of repair. As Blandy (2011) notes, the
conversation around the environment is moving from needing to convince people of the
seriousness and significance of environmental challenges to a focus on what can, and must, be
done (p. 245). If we are educating students to be a part of the world and to make a positive
impact, we need to address important issues that can alter our way of life.
I feel it is my duty as an art teacher to present opportunities for students to explore their
relationship with nature and find ways to express their ideas through artworks by using ecofriendly processes. As an elementary art educator, I have seen countless bags of trash leave the
classroom. The negative impact this has on the environment has weighed heavy on my
conscience, leading me to find ways to reduce the amount of trash my students produce.
Luckily, I am not the only educator and lover of nature to approach eco-friendly processes in the
art classroom environment and have found practical support for my research (Inwood, 2010;
Taylor, 1997; Sang, 2010).
Taylor (1997) expresses her thoughts about being an art educator and how the amount of
waste overflowing from her classroom trash bin caused her to change the way she approaches
environmental awareness and sustainability in her program. She asserts that we and our

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students should be challenged to become stewards of this earth in every aspect of our lives,
respectful and reverent of this place we call home (p. 16). Through suggestions from other art
educators, I have been learning ways to maintain an eco-friendly classroom and have already
began implementing green processes in my own art room. For example, I have cloth towels for
wiping tables and big spills instead of using up paper towels and we make our own paper out of
scraps (Inwood, 2010). I also keep living plants around the room, consolidate trash to reduce
plastic bag use, and encourage students to use recycled materials for projects (Sang, 2010).
However, there is still much to be done to reduce the amount of waste we create and to prepare
my students to send a strong message about the environment through their artmaking.
Contemporary art speaks out
Using contemporary art to show students how they can make a difference is an essential
part of my research. Blandy (2011) asserts that art educators are in a unique position to present
students with an extensive display of contemporary artists and artworks that address significant
issues, including those surrounding environmental degradation. Blandy, Congdon, and Krug
(1998) support ecological stewardship and restoration through the arts, stating that many
contemporary artists are advocating for changes in daily interaction within the worlds
ecosystems and are taking action to address the destruction occurring on a daily basis (p. 241).
London (1994), a proponent of community-based education, asserts that artists and their
communities need one another, and that art teachers should address their social responsibility to
create opportunities for student interactions with nature, people, events, ideas, and making art.
Access to contemporary artists, their work, and their processes has increased
exponentially due to the advances in online technologies and globalized media outlets, and for
art educators, that is a major benefit. The PBS series and site, Art21, is an essential resource for

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contemporary art, providing access to videos about a diverse range of artists, downloadable
teaching materials, and resources for implementing contemporary art curricula. Featured artists
are categorized by themes, such as ecology, including photographs by Robert Adams, curiosity
cabinets by Mark Dion, the sculptures and video installations of Iigo Manglano-Ovalle, and the
sculptures of Ursula von Rydingsvard. Even a simple Google search of contemporary
environmental artists will open the door to a complex web of interconnected people, places,
perspectives, and movements dedicated to making a positive impact on the natural world.
Many groups of artists have formed collectives with the common goals of raising
environmental awareness, implementing ecological restorations, and lessening the negative
impacts of human activity on the natural world. Red Earth is an international environmental arts
group that creates site-specific installations and performances in response to nature, cultural
identity, and intercultural exchanges. The Center for Sustainable Practice in the Arts (CSPA) is
a think tank for sustainability, seeing it as an intersection of environmental balance, social
equity, economic stability and a strengthened cultural infrastructure (CSPA, 2015). These are
just a few of the resources available that are worthy of deeper investigation when designing an
art curriculum.
There also exists decades worth of literature with resources for selecting, discussing, and
creating artworks with contemporary aims. Blandy et al. (1998) provide an extensive list of
contemporary artists dedicated to protecting and restoring the natural environment through
subject matter, material, and social interaction, including the work of Tressa Prisbey, Tom Every,
and The Green Chair Project (organized by Joel Sisson and Scott Lundberg). Environmentallyminded artists such as David T. Harrison, Lynne Hull, Nancy Holt, and Andy Goldsworthy are

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listed by Lankford (1997) as purveyors of purposeful creativity, dedicated to being stewards of
the greater earth and the physical spaces they occupy.
Conclusion
As stated by Davenport (2000), global education seeks to find and strengthen the
similarities between people. The state of the environment affects virtually everyone on the
planet, so it seems natural to investigate it within a global context. Our students need to have
access to a world beyond themselves and to find similarities between different communities in
order to understand the impact of a global topic such as environmental sustainability on the
whole of humanity. Lankford (1997) holds the view that the natural environment is intertwined
with human-constructed and social environments, furthering the idea that the study of ecology
and global perspectives can be investigated side-by-side within a comprehensive art program.
It is paramount for all students to understand that what they think and do matters.
Providing students with the knowledge and tools to become environmentally aware individuals
will allow them to understand their individual power to help or hurt the natural world. My hope
is that by incorporating the global topic of environmental sustainability into an elementary art
program, my students will use the eco-friendly processes they create outside of the art room and
will be inspired by the amazing work of contemporary artists in their own artistic endeavors.
Due to the time limitations of this proposed research, there is much that I will not be able
to accomplish in the allotted time frame. However, at some point in the near future, I would like
to organize a student-led community art event to promote environmental sustainability. In
addition, students could eventually maintain a school garden, opening up possibilities for
explorations of landscape architecture, outdoor sketchbook activities, and direct positive
involvement with nature. I firmly believe that with the right leadership, an elementary school art

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room can accomplish the goals outlined throughout this review. By incorporating relevant
research, meaningful discussions, eco-conscious artmaking, and observations of contemporary
art, an art educator can continue to reflect and evolve with the curriculum.
Methodology
The goal of my research is to incorporate the global concept of environmental
sustainability into an elementary art curriculum for 3rd or 4th grade students, which can be
implemented with restricted supplies, budgets, and time. I will include investigation into the
work of contemporary artists and activists addressing environmental sustainability and will
design eco-friendly processes and procedures for the art classroom.
Subjects
It is my intention to implement the art curriculum I create within a 3rd or 4th grade group
of volunteer students ranging between the ages of 8 and 10, from mixed socioeconomic and
cultural backgrounds within a wide range of learning abilities.
Research Site
I will implement the curriculum in my own art classroom at the public elementary school
where I have been teaching art to kindergarten through 4th grade students for the past 3 years.
All studies with students will occur during the 2015-2016 school year, beginning in August (see
timeline).
Data Collection Procedures and Instrumentation
I have chosen the curriculum research and development method and will use the
knowledge of curriculum experts, art teachers, and my personal teaching experiences to design a
meaningful and contemporary curriculum. Included within the scholarly articles and books I
have chosen for my methods research, is the alternative art curriculum development of Eisner

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(1984), the guidelines for building art curriculum of Lanier (1984, 1986), the reconsiderations in
contemporary art curriculums of Gude (2013), the Understanding by Design approach of
Wiggins & McTighe (2005), and the backward design approach of UbD described by
McTighe & Thomas (2003).
Eisner (1984) understood the importance of meaningful assessments to create a wellfunctioning art curriculum. This idea is brought to life through the work of Wiggins & McTighe
(2005), who stress the alignment of curriculum expectations, activities, and assessments within a
framework of big ideas and essential questions that address contemporary global and local
themes or issues. The three-step process of backward design first involves identifying desired
results, then analyzing data, and last, but definitely not least, planning instructional activities.
Aligning and implementing regular types of assessments is crucial to the process and is used to
guide the teacher to reflect on the effectiveness of the lesson or activity and make necessary
modifications.
Data Collection and Analysis
As my research will include the use of human subjects, specifically my own 3rd or 4th
grade art students, I will be applying for an IRB02 protocol (see Appendix A) to assure the safety
and anonymity of their intellectual or artistic ideas. I will be collecting data during the
implementation of the curriculum in two phases. The curriculum development and research
phase will involve gathering data from videos, images, art education curriculum studies, art
history and art criticism writings, and artists biographies for lesson implementation. The second
phase has a field study approach and involves gathering information from the students through a
pre- and post-questionnaire, photographs of student artworks, written student reflections, and
informal observation notes.

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Data Analysis Procedures
In accordance with guidelines set forth by Wiggins & McTighe (2005) in their
curriculum development model, Understanding by Design, I will use the backward design
model of UbD further described by McTighe & Thomas (2003) to first determine what I want
my students to know or be able to do as a result of an art curriculum designed around the global
concept of environmental sustainability. In the case of my research project, I want my art
students to be aware of global concerns, to investigate the importance of environmental
sustainability, to express global ideas in their artworks, to appreciate the work of contemporary
artists and activists, and to practice eco-friendly processes in the everyday life.
During the first week of school (see Timeline), I will send home letter(s) in accordance
with IRB02 regulations (see Appendix A) to obtain parental consent and student assent to
include any student findings in my research. Although all students will participate in the regular
art program, volunteer students with parental permission will be the only ones to have their
information recorded for this research. The following week, I will administer a prequestionnaire to the 3rd and/or 4th grade art students (see Appendix B) to gather information
about what students know about nature and/or the environment, what they do or dont do to
protect it, and what artworks and artists can do to affect its sustainability.
I will use the information gathered from the initial questionnaire to formulate my
approach to helping students create eco-friendly processes and procedures to be used in the art
room throughout the year, including the creation of student portfolios within the second and third
weeks of class. I will record their findings and suggestions to design and create written
reminders or instructions for set processes and procedures when using, recycling, and discarding
materials during art production.

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During the implementation of the first unit of art lessons centered on environmental
sustainability, I will use written notes of student discussions surrounding global concepts in art to
formulate student reflection prompts and a post-questionnaire to be administered after artwork
research and production. I will collect informal observation notes about students during class
discussions and artwork creation to assess student understanding and participation. I will also
use photographs of student artworks and student reflections to measure student understanding
and interest of the topic at hand, to gauge the effectiveness of the given lessons, and to make
necessary modifications to the coming lessons of the current unit in use and/or the units to
follow. I will then structure my found data within a well-written document and visual
presentation to describe the successes, challenges, and overall effectiveness of the art curriculum
being implemented.
Limitations
The proposed research has multiple limitations, including time span, location, participant
population, and a specific focus. Because the study will be conducted within a two to three
month period at the start of a new school year, there will only be enough time to begin
implementation of environmental concerns into the existing art curriculum with a small group of
students. The small time window and sampling of students may limit the diversity of student
experience, response, and/or ability. Furthermore, this topic deserves investigation into the
continual development and overall effectiveness of the program attributes that will be modified.
With more time and a larger sampling of participants, it would also be possible to include
opportunities for community partnerships/events, digital portfolio sharing, and relationshipbuilding with other art classrooms around the globe.

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Summary
Through the implementation of the proposed research, I will be able to make
generalizations about my students knowledge about the natural world and its relationship to the
arts, as well as their understanding of their part in environmental sustainability. My hope is that
by exploring this topic with my students and allowing them to participate in the process of
helping the earth by making art, they will feel a sense of personal responsibility to be stewards of
the natural world. By incorporating the work of contemporary artists working for environmental
change, I believe my students will understand the relationship of art to our everyday lives.
Involving students in the process of creating sustainable solutions for the art room may possibly
instill a sense of personal responsibility for the earth that they will carry with them for the rest of
their lives.

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Appendix A
IRB Form, Parent Consent Letter, Student Assent Prompt

(click on entire document image for detail)

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Sugar Creek Elementary

1102 Bella Vista Drive
Bentonville, AR
72712
Dear Parent/Guardian,
I am the art teacher at Sugar Creek Elementary and will be instructing your child during the
2015-2016 school year. I am pursuing a Masters of Art Education through the University of
Florida and would like to conduct a study with my students during art class. The purpose of this
study is to find ways to incorporate environmental sustainability into the existing art curriculum.
With your permission, I may use student answers on questionnaires, student artwork, student
reflections, and observation notes to determine the success of the material. Students who
volunteer will be identified by a code number (i.e., Student 1, grade 4) for anonymity.
Although all children in the art program will experience similarly themed art lessons, only
volunteer students with parental permission may have their ideas shared in a formal research
presentation and/or my professional website. Participation or non- participation in this study will
not affect the childrens grades or placement in any programs.
You and your child have the right to withdraw consent for your childs participation at any time
without consequence. There are no known risks or immediate benefits to the participants. No
compensation is offered for participation. Group results of this study will be available in
December upon request. If you have any questions about this research protocol, please contact
me at (479)-685-3974 or my faculty supervisor, Dr. Craig Roland, at (352)-392-9165. Questions
or concerns about your childs rights as a research participant may be directed to the IRB02
office, University of Florida, Box 112250, Gainesville, FL 32611, (352) 392-0433.
Nicole McCauley
Sugar Creek Elementary Art Department
I have read the procedure described above. I voluntarily give my consent for my child,
_________________, to participate in Mrs. McCauleys study of incorporating environmental
sustainability into an existing art curriculum. I have received a copy of this description.
____________________________
Parent/Guardian
____________________________
2nd Parent/Witness

___________
Date
___________
Date

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Hi, my name is Mrs. McCauley, and I am your art teacher. I am conducting research for my work
at the University of Florida and would like to use some of your answers, suggestions, and/or
artwork as part of my research. Your parent(s) or guardian(s) said it was OK. Would you like to
participate?

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Appendix B
Pre-Questionnaire
Student Grade Level:
1. What is nature and/or the environment?
2. Why or how is nature and/or the environment important to you?
3. Why or how should we protect nature and/or the environment?
4. How can artworks or artists affect or help nature and/or the environment?
5. How can you help nature and/or the environment by making art?

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References
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ASCD.

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Author Biography
I was born Nicole Renee Robbins to Ted and Silvia Robbins in May of 1983 and was
raised in the liberal city of Santa Barbara, California until August of 1995. My family then
relocated us to Bella Vista, Arkansas, a small retirement community a few miles north of
Bentonville, the home of Wal-Mart Stores, Inc. Being moved from a place of cultural diversity
and acceptance to one of cultural homogeneity was, to say the least, quite a shock and proved to
be a difficult transition for a confused pre-teen. However, over time, this area has made great
leaps and bounds in the way of cultural diversity and understanding and I have since adapted into
a comfortable existence.
I have always been a fan of the outdoors and have (for as far back as I can remember)
enjoyed making art in some form or another. It was not until I successfully constructed a
ceramic project in high school that I began to view myself as a potential artist. When I began
college, I started taking art classes and within the next few years, had focused my studies on art
education. I knew that I could do great things in the field of art education with the spackling of
knowledge I had obtained from my different art and life experiences. Upon graduation in
December 2008, I sought employment in the Bentonville School District and was hired as an
elementary art educator in June 2009. I have been teaching elementary art ever since and am in
love with my job.
Pursuing a graduate degree proved to be the next logical step for me, allowing me to
reflect on my teaching and evolve accordingly with contemporary theory. I am excited for the
opportunities that have been opened up as a result of my studies and literally cannot wait to
apply my learning in amazing ways. I am currently reshaping my own studies and writings to
begin submitting articles for art education publications and an art educator blog.

31
Timeline

Action or Task

Date Completed/Proposed Completion

Choosing committee members; appointing a

chair
Completing an independent study related to
environmental sustainability and art
Completing IRB forms and obtaining
permission for research from UF
Email permission from principal
Present research proposal to Capstone
committee
Conducting research
Independent Study with Dr. Roland
Send home IRB02 voluntary parental consent
and student assent letters
Administer pre-questionnaire to art students
Create eco-friendly processes for the art room
Begin art lessons on environmental
sustainability
Collect informal observation notes,
photographs of volunteer student artworks
and reflections
Research Capstone course
Organize findings for Capstone Defense
Capstone Research Defense
Graduation

Completed 03/30/15
Ongoing; focus in August, September, and
October 2015
In process; 4/18- sent to Dr. Tillander for
edits; edited 4/22
Completed April 23, 2015
TBD; May or June 2015
Ongoing; curriculum research
Fall A 2015
August 2015
August 2015
August 2015
September 2015
September and October 2015

Fall B 2015
October and November 2015
TBD; November 2015
TBD; Capstone Fall 2015, graduation Spring
or Summer 2016 (*dependent on course
offerings, need one elective studio course)